Hit thishyperlink(or the
eyeball to the right or the guy in green,
opposite) and you will be instantly transported to a
sprawling survey of a well-traveled, unpredictable, prolix, loud, distracted, and
amiable Mexican-American professor's academic
odyssey—but beware! The site teems with photos,
ephemera, sordid chisme, and much, much more of the
headache inducing eye-candy you already see here.

BOOKSTEX[T]-MEX: SEDUCTIVE HALLUCINATIONS OF THE
"MEXICAN" IN AMERICA

{Click the
image above to see the cover in detail or
click here to
buy on sale via amazon.com}

ABOUT TEXTMEX:

"The author of Tex[t]-Mex is also a border-born
Tejano who is genuinely appalled at what passes
for Mexican in the U.S. media.
But he doesn´t get snitty about it, doesn't scold (too
much), keeps his theoretical feet on the decidedly
non-theoretical ground, and sees the humor in all of
it. Which sets him apart from the pomo crowd he runs
with, and makes Tex[t]-Mex
a valuable, sometimes hilarious, maybe even loveable,
but surely learned, condemnation of stereotypes."

#Mextasy at the University of
Kansas, Lawrence, Kansas!!!
Lecture/Pop-Up
Exhibition!
Thursday, April 28, 2016

MEXTASY @ BINACOM
The Binational Association of
Schools of Communication
(BINACOM) will be hosting an
Encuentro at San Diego State
University on April 22-24,
2016--A pop-up Mextasy
exhibition will be part of the
fun! SDSU Main Campus COMM
Building!
#binacom16

From
Tex[t]-Mex to Mextasy21st
Century Mexicans,
Mexican-Americans, and
Latinas/os in
the Age of the Smartphone and
the Digital HumanitiesWednesday, April 13, 2016
at 12:00pm
Latina/o Studies Conference
Room
429 Rockefeller Hall
Cornell University, Ithaca,
New York

MEXTASY!Just left the Wolverine-laced
hallways of the Program
in American Culture at the
University of Michigan, Ann Arbor
and then hopped over to an opening
at the University of Hawai'i at Manoa,
April 8, 2011... next up? CSU
Fullerton!

A
screengrab from Orson Welles's Touch of Evilwith Charlton
Heston as "Mexican" narcotics agent Miguel 'Mike'
Vargas--tap Heston in order to be transported to
Google's facsimile of a chapter on Welles's
masterpiece.

Fall 2015
Hallucinating MirrorsUndergraduate
ENGL 220
English 220: I/Eye-gasm: The "Death of
the Book," the Digital Humanities, and the Self[ie]
in Literature, Film, Art, Photography and the World Wide Web

More from the BRUSH
WITH FAME archive!!!With Diane Keaton at the Donkey Show, Santa
Monica

@ Chicano Park with Andrew Zimmern

More from the BRUSH
WITH FAME archive!!!

HEROES!

The future is part of desire, and
desire is extremely important. I think it's very
important in my novels and it has to do with want,
it has to do with yearning, and with the way we
strive towards what we merely call the obscure
object of desire. This is, of course, never an
innocent operation because it implies not only
having what we want, but changing it according to
our conception of it, changing the other person. The
other person might very well resist not only our
desire but our wanting to take over and change. And
therefore, conflict, and therefore, narrative,
novels, drama, and many other things. But I cannot
understand the future without the category of desire
and all that desire implies.

Carlos
Fuentes1988

I just
can't help writing by hand. One types by hand
also. It is not that the hand disappears, but if
I start typing, or working on the screen, I am
dinosaur. I find that it disappears from
me. I have a secretary but she certainly does
not type the stuff I write. I am from the manual
typewriter era. The extraordinary editing
capacities of the computer also touch me. That
second typing on the screen is a creative
moment. It is just not the first moment. Is
writing the first moment we do not know. I
consume the affect of writing by hand. Another
reason is that I do a lot of work in areas where
there no electricity at all.

I thought I
was trying to evolve an argument that would in some
way just knock issues of veracity out of the water,
that would make them almost laughable. But I ended up
realizing that what I was trying to do was to find a
mode of writing sexual fantasy, really, and exploring
the way we project [it] onto the materials that we are
supposedly studying-- not as something that might
actually be happening within them (you know: the
question of who fancies whom and of whether they
repressed or acted on it and with what consequences),
but rather as a way of conceptualizing the material
and linking yourself to it....¶"Without," for me, is
that funny state where you think you're doing one
thing, then realize that you're doing something
completely different, which always builds on the
familiar quagmire of "knowledge."

That I'm a
skeptical nihilist who doesn't believe in anything,
who thinks nothing has meaning, and text has no
meaning. That's stupid and utterly wrong, and only
people who haven't read me say this. It's a
misreading of my work that began 35 years ago, and
it's difficult to destroy. I never said everything
is linguistic and we're enclosed in language. In
fact, I say the opposite, and the deconstruction of
logocentrism was conceived to dismantle precisely
this philosophy for which everything is language.
Anyone who reads my work with attention understands
that I insist on affirmation and faith, and that I'm
full of respect for the texts I read.